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Modern Paintings 



Bv 



German and Austrian 
Masters 



Collected and Catalogued 
By 

Josef Stransky 



New York 
1916 



<31 



Copyright, 1916, by 
Josef Stransky 



JAN -2 1917 

©CI, A 4 53 45 6 



PREFACE 

The New World has but slight knowledge of nineteenth-century 
German painting. France has sent works of her most eminent 
masters to America, while Germany for decades past has ex- 
ported across the ocean paintings that have appealed not to the 
art lover but to those without discernment, — anecdotal and sen- 
timental pictures lacking any artistic quality, works in which the 
subject counted for everything and the rendering for nothing at 
all. At a time when an understanding of such things was in- 
creasing in America among ever-broadening circles, public 
opinion condemned these pictures, which were indeed contrary 
to all that is to-day accounted good painting. 

It is true that Germany produced no prominent painters from 
the days of Diirer and Holbein down to about the middle of the 
nineteenth century. At that time German art began to bloom 
again with a splendid quality of its own, differing in character 
and essence from the art of other nations. The assertion of 
this fact has met in this country with distrust and contradic- 
tion, and the usual German picture in American collections has 
been cited as proof of the artistic inferiority of Germany. It 
was not known that these pictures aroused in Germany the same 
criticism that they called forth in the New World. 

For Germany has not been narrow in her judgments of art. 
Modern French painting, for instance, is highly appreciated 
there, and a large number of works on modern French painters 
have been written by German art critics. French literature may 
be searched in vain for more profound treatises on art than 
those by Meier-Graefe on Delacroix, Corot, Manet, and the 
others. German collectors own wonderful examples of the 
French masters. In some instances they have been among the 
earliest to recognize genius which has since been generally 

can 



acknowledged. Like the musicians Berlioz and Bizet, the painter 
Courbet was first understood in the Germanic countries ; German 
and Austrian painters brought back accounts of the wonders 
of the Barbizon School and of the Impressionists and thereby 
prepared an enthusiastic reception for French art among their 
countrymen. France, on the other hand, was the first to call 
the attention of the Germans to the high artistic merits of their 
own Leibl and Liebermann. 

During the rare hours of leisure which my musical profession 
has granted me, I have devoted myself to the study of works 
of art, and especially of paintings. This awakened in me the 
desire for a collection of my own, and, recognizing the impor- 
tance of the creations of the German and Austrian masters of 
this latter day, I have acquired works by them only. Most of 
these pictures I brought with me to America a few years ago. 

I have been able to secure pictures by painters who in Ger- 
many and Austria are recognized as the best. Professor Dr. 
Heinz Braune, Director of the Royal Pinakothek at Munich, 
has written the introduction for the German edition of the cata- 
logue of the collection. He concludes it as follows : 

"No one will regret the fact that this beautiful and rich 
collection is now not in Germany, but, like a far advanced 
guard, has found its way to America. This circumstance may 
be an indication that the time has come when the German 
intellectual and artistic world will begin to win for itself 
in peaceful conquest across the great sea the attention which 
is due to its significance and strength." 

This catalogue in English is published in the hope that the 
illustrations and the few explanatory words which I have written 
about each painter may interest the American art-lover, so that 
he may seek a more thorough acquaintance with the artists 
mentioned. 

Josef Stransky. 

New York. November, 1916. 



OH 



LIST OF ARTISTS REPRESENTED 
AND THEIR WORKS 

THE CLASSICISTS (German Romanic School) 



Anselm Feuerbach 
Hans von Marees 
Max Klinger 



Portrait of Himself 
Evening Forest-scene 
Heroic Landscape 



Wilhelm Leibl 

Johann Sperl 

Louis Eysen • 
Charles Schuch 



Wilhelm Triibner 



Theodor Alt 
Hans Thoma 



THE LEIBL CIRCLE 



The Actor . . 
Portrait of Himself 



Bavarian Landscape 
In the Garden 



Landscape 



Landscape near Bernried 

Apples 

Mill in Prags 
Landscape near Perch . 
Still-life 



Beech-trees near Bernried 
The Woman with Radishes 

The Nun 

The Guardian 
Portrait of Himself . 
Castle Hemshach, 1904 ■ 
Castle Hemshach, 1905 . 
View on Lake Starnberg 

The Bowling -alley . 
Peasant Houses . 



Orange Grove in Sorrento 
Summer Night 



21 
25 

31 
35 

41 

47 
51 
55 
59 
63 

69 

70a 
73 
77 
81 
85 
89' 
93 

99 
103 

109 
113. 



THE MUNICH SCHOOL 

Wilhelm von Lindenschmit 



Karl Spitzweg . 
Fritz von Uhde . 

Hugo von Habermann 



Albert 



Keller 



Franz von Stuck 
Toni Stadler 
Heinrich von Ziigel 



Luther and the Reformers at 
Marburg . 



The Letter-carrier 

The Picture-book 
In the Garden . 



Piloty's Studio . 
Dressing for a Dance 
Castle Unsleben 



Rococo Park 
Portrait of the Artist's Wife 
In the Garden of the Villa 
Wolkonski in Rome . 



Carmen 

Bavarian Landscape 

The Sheep-farm (Wolkenhof) 
Shepherd and Flock 



119 

125 

131 
135 

141 
145 
149 

155 
159 

163 

169 

175 

181 
185 



THE BERLIN SCHOOL 



Adolpli von Menzel 



Max Liebei 



Max Slevogt 

Lovis Corinth 
Walter Leistikow 
Gotthard Kuehl . 



Man Reading 191 

The American Restaurant at 
the World's Fair in Paris, 
1867 195 



The Spinners 
The Cobbler's Shop 
The Court-yard 
The Girl from Laren 
The Parrot-keeper . 
The Polo-players . 
Portrait of Himself 
In the Dunes 

The Chestnut-tree . 
Portrait of Himself 

The Conqueror 

Danish Landscape . 

The Augustus Bridge in 
Dresden . 

00 



201 
205 
209 
213 
217 
221 
225 
229 

235 
239 

245 

251 



257 



THE DUSSELDORF SCHOOL 



Andreas Achenbach 
Oswald Achenbach 



Ludwig Knaus . 
Eduard von Gebhardt 
Gustav Schonleber . 



Dutch Harboi 



In the Chigi Park near 
Florence .... 

Palazzo Sant' Anna near 
Naples .... 

The Swineherd 

Adoration .... 



Old Houses in Cologne 
Colmar 



PAGE 

263 

269 
273 
279 
285 

291 
295 



THE AUSTRIAN-HUNGARIAN SCHOOL 

Hans Makart .... Bathers Surprised .... 301 

August von Pettenkofen . Sunrise 307 

Carriage with Donkeys in a 

Hungarian Punipkin-field . 311 

Michael von Munkacsy . . Hungarian Peasant . . . 317 
Gypsies in the Forest . . .321 

The Prisoner 325 

THE SWISS SCHOOL 

Ferdinand Hodler . . . Lake Thun 331 

... Lake Geneva 335 

The Wandering Jew . . . 339 



[via 



ANSELM FEUERBACH 

[1829-1880] 

Anselm Feuerbach was the first modern German painter of no- 
bility and grandeur. He studied in Paris under Couture, whose 
influence is clearly shown in the artist's Portrait of Himself in 
this collection, painted in 1853. In Italy he acquired an indi- 
vidual note which one might designate as "Germanic Roman- 
esque." His large compositions have overcome the academic 
influence, which is replaced by a vital conception of the subject. 
The lines storm and surge in a wonderful rhythm, the space is 
poetically sensed, everything is alive and vibrates, and over the 
whole canvas is spread a harmony of color which, in spite of a 
tender reserve, is of a refreshing warmth and veracity. The 
number of magnificent portraits of Nanna, his beautiful Roman 
model, his pictures of the life of Dante and Petrarch, his Medea 
(Pinakothek, Munich), his Battle of the Amazons (Nuremberg 
Museum), The Fall of the Titans (Vienna Academy of Art), 
his Portraits of Himself, and, last but not least, the deeply felt 
Portrait of my Stepmother (Berlin) — to mention only a few of 
his important works — show him to be a master truly grand in 
style. His contemporaries denied him recognition, but posterity 
has crowned the artist whose entire life was spent in struggle 
and in sorrow. Feuerbach shared the lot of almost every genius : 
the mockery of his contemporaries, the glory of posterity — that 
glory which is now assured to him for all time. 



[1 1 



PORTRAIT OF HIMSELF 

BY 

ANSELM FEUERBACH 



[3] 



ANSELM FEUERBACH 



Portrait of Himself 

Painted 1853 



Height : 181/4 inches Width : 14% inches 

Oil on canvas 



Recorded in "A. Feuerbach," by Allgej^er Neumann. 

Recorded and reproduced in "Feuerbach," by Uhde-Bernays (Clas- 
sics of Art, Deutsche Verlagsanstalt, Stuttgart, publishers). 



CO 



HANS VON MAREES 

[1837-1887] 

Marees might be termed a German Puvis de Chavannes, but with 
a larger vision and an endeavor toward a decorative art of 
almost Michelangelesque power. The pictures painted during 
his } T outh show that he was an artist of enormous capacity. His 
works of those years recall the quality of the old masters, par- 
ticularly of Velasquez, although one cannot call him an imitator. 
Later he confined himself to the painting of simple serene figures, 
naked youths walking in orange groves, nude groups in shadowy 
forests. He had a new and peculiar style in view, and, guided 
by his feeling for great dominating horizontal and vertical lines, 
he desired to reach the original source of beauty by returning 
to that primitive element which is typical of each subject. 
Marees had the one opportunity of his lifetime to decorate walls 
when he painted the magnificent frescoes in the German Zoologi- 
cal Institute at Naples. Then no more orders came, and he was 
forced to limit his work to mere designs for imaginary buildings, 
and such a curtailment of power must eventually confuse even 
the noblest and clearest spirit. Germany gave Marees no chance 
and thus lost one of her greatest decorative geniuses. The 
few works of Marees which are preserved, whether executed in 
paint or mere drawings, remain worthy of the highest admira- 
tion. 

The Evening Forest-scene, in this collection, is laid in mytho- 
logical times, and probably represents the hero just before his 
departure to battle. His armor is ready, his horse is waiting. 
The nudity of the hero, which has been objected to in this pic- 
ture, is of greatest importance, for it introduces into the painting 
that deep ethical element which lifts it above time and space into 
a mythical sphere where the nude is far from sensuous appeal. 
The blending of colors creates a sonorous harmony which makes 
the picture look like an old tapestry. 



[7: 



EVENING FOREST-SCENE 

BY 

HANS VON MAREES 



Z91 



HANS VON MAREES 



Evening; Forest-scene 

Painted 1870 



Height: 24< : )4 inches Oil on canvas pasted on 

Width : 20 inches pasteboard 



Recorded and reproduced in "Hans von Marees," by Meier-Graefe 
(Pieper & Co., Munich, publishers). 

Recorded and reproduced in the "Catalogue of the Century Exhibi- 
tion, National Gallery, Berlin, 1Q06." 



[10] 



MAX KLINGER 

[Born in 1857] 

Klinger is one of the most titanic figures in the modern history 
of art. A sculptor of great power, an etcher of highest orig- 
inality, a painter of strongest individuality, he wrestles with the 
profound problems of the human soul; he is the philosopher 
among the artists, he has created for himself an independent 
philosophy which throws a bridge from the beauty and great- 
ness of the classic world to the most powerful achievements of 
modern times. The veiled mysteries of the cosmos, the secret 
vibrations of the human soul, the mightiest problems of religion 
hold an intense interest for him. He wanders, with utter disre- 
gard for temporary styles, on solitary heights, and each new 
work which he creates signifies a new problem. His series of 
etchings, A Life, Eve and the Future, Death, Brahms Phan- 
tasies, To Beauty, are unique revelations of a striking mental 
and artistic power. His most prominent works of sculpture 
are Amphitrite, Salome, Cassandra, Nietzsche, Liszt, the Brahms 
Monument in Hamburg, and, above all, his Beethoven ( for which 
the citizens of Leipzig have built a temple within the museum). 
All of these produce an effect which words are incapable of ex- 
pressing. They are gigantic symbols of overwhelming ideas and 
emotions. 

Klinger studied under Gussow in Karlsruhe. Later he found 
inspiration in Berlin, while in Paris pleinairism and the art of 
Besnard influenced him. In Rome he became familiar with 
Bocklin and Marees, but none of these painters left a lasting 
impression. 

His most important paintings are The Highwaymen, Summer 
Happiness, The Blue Hour, Pieta, Crucifixion, The Judgment of 
Paris, Christ on Olympus, Homer, etc. ; they are the works of 
an artist whom one should not endeavor to interpret by the 
standards of any predecessor, for whom it is necessary to find 
new valuations. The Heroic Landscape in this collection be- 
longs to a period when Klinger was occupied with the problems 
of pleinair painting, and is a study for the decoration of the 
walls of a villa near Berlin. 



[is: 



HEROIC LANDSCAPE 

BY 

MAX KLINGER 



CIO 



MAX KLINGER 



Heroic Landscape 

Painted 1885 



Height : SOI/, inches Signed "M. K. 85' 

Width : I8I/0 inches Oil on panel 



Recorded and reproduced in "Cicerone/' Monthly Art Magazine, 
Vol. VIII, Nos. 11, 12. Article by Frank Washburn-Freund. 



cie: 



WILHELM LEIBL 

[1844-1900] 

Wilhelm Leibl is the greatest German painter since the days 
of Holbein. His appearance marks the beginning of an eminent 
period of painting such as recurs but once in hundreds of years. 
This period recalls the golden age of German literature in the 
XVIII century which produced Lessing, Schiller and Goethe, 
and the golden age of music which produced Haydn, Mozart 
and Beethoven, to mention the most important only. 

Leibl was no ruminator, no dreamer. He created works of 
purely pictorial quality which can stand comparison with the 
paintings of the greatest masters of all times. 

The picture, The Actor, in this collection, was painted in 
1867 when Leibl was but twenty-three years old. At this time 
he had never heard of Courbet, who is recalled in this work by its 
broad strokes and its melloAvness of tone — a coincidence which 
proves that at that time the great revolution in art was in the air 
in Germany as well as in France. The first International Expo- 
sition at Munich, 1869, brought Courbet to the Bavarian capi- 
tal, and Leibl found in this artist's works everything that he felt 
himself worthy of striving for. He became closely attached to 
Courbet and followed him to Paris, where he received the highest 
distinction — the gold medal at the Salon. The war of 1870-71 
forced him to return home. After having lived for some time in 
Munich he later withdrew into different Bavarian villages, where 
he created a large number of incomparable masterpieces. The 
broad "impasto" period of Leibl, characterized by heavy rich- 
ness of paint, as in the small Portrait of Himself in this collec- 
tion, was followed by a period of the minutest technique. We 
still find in these pictures a marvellous softness and a mellow 
splendor of a Holbein-like quality, but we notice a closer atten- 
tion to the details. 

[is: 



Leibl, whose paintings fetch enormous prices now, died in 
poverty, not appreciated by the public, like Feuerbach and Ma- 
rees, but understood and highly estimated by a circle of young 
artists who met him daily in a little Munich tavern ; here they 
listened to his instructive speeches and adopted enthusiastically 
his doctrines as their watchword. These painters — called the 
"Leibl Circle" — were Wilhelm Triibner, Charles Schuch, Hans 
Thoma, Louis Eysen, Johann Sperl, Theodor Alt, the Ameri- 
cans Frank Duveneck and William Chase, and others ; most of 
them have attained a place of high significance in the world of 
art. 



[20] 



THE ACTOR 



WILHELM LEIBL 



[21] 



WILHELM LEIBL 



The Actor 

Painted 1867 



Height : 22% inches 
Width : 17 inches 



Signed "W. Leibl 186' 
Oil on canvas 



Recorded and reproduced in "Leibl/' by Emil Waldmann. 

Recorded in "History of Painting," by Richard Muther (Xeufeld 
& Henius, Berlin, publishers). 

Recorded in "German Painters of the XIX Century," by Richard 
Hamann (R. G. Teubner, Leipzig, publisher). 

Recorded and reproduced in "Kunst und Kiinstler," Monthly Art 
Magazine, Vol. XII, Xo. 1. "Leibl and the French," article by 
Emil Waldmann. 



[22 J 



PORTRAIT OF HIMSELF 



WILHELM LEIBL 



on 



WILHELM LEIBL 



Portrait of Himself 

Painted 1875 



Height : 4% inches Width : 3% inches 

Oil on panel 



This picture was for years in the possession of the American painter 
William M. Chase; he obtained it from Leibl during a visit he 
paid him in Munich in 1876. 



1^1 



JOHANN SPERL 

[1840-1914] 

Sperl will be remembered in the history of art more on account 
of his friendship with Leibl than for his own works. He was one 
of the first who grasped the great significance of Leibl, he fol- 
lowed him into the solitude when he became tired of Munich, he 
cared for him as a mother cares for her child, he attended to 
the household, escorted him on his walks, accompanied him to 
the tavern and assisted him on his hunting trips (hunting was 
Leibl's favorite sport) ; in short, he was always about him, he 
was the faithful Kurvenal of the Tristan Leibl until his friend 
closed his eyes forever. But this affection for his great friend 
did not influence Sperl's own artistic expression. An early 
period during which he produced inferior genre pictures was fol- 
lowed by a period of refreshing landscape painting of great 
individual charm. The two pictures of this collection give a 
good idea of Sperl's technique. He knew how to interpret poeti- 
cally the tender charm of his beloved Bavarian country. 



[29] 



BAVARIAN LANDSCAPE, UNTERSCHONDORF 



JOHANN SPERL 



Lsi] 



JOHANN SPERL 



Bavarian Landscape, Unterschondorf 

Painted 1876 



Height : 17% inches Signed "J. Sperl" 

Width : 13V> inches Oil on canvas 



Recorded and reproduced in "Cicerone/' Monthly Art Magazine, 
Vol. VIII, Nos. 9, 10. Article by Frank Washburn-Freund. 



[32: 





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'£#*• ,J 


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•'• ' ■■ , ' h '" 



IN THE GARDEN 

BY 

JOHANN SPERL 



£351 



JOHANN SPERL 



In the Garden 

Painted 1878 



Height: 22 inches Signed "J. Sperl' 

Width: lT ] /2 inches Oil on canvas 



[36] 



LOUIS EYSEN 

[1843-1899] 

Few of Eysen's paintings are still in existence. The picture 
in this collection, with its cool and tender harmony of greens, 
blacks and yellows, reveals the refined culture of this master. It 
was painted in 1873 and already touches problems that after- 
wards became the battle-cry of the Impressionists. If the con- 
trary were not known, one might believe that Eysen was inspired 
by Renoir. A new trace of art is noticeable throughout the 
works of this entire generation of painters who followed Leibl's 
leadership ; every one of them represents an individuality. 



[393 



LANDSCAPE 



LOUIS EYSEN 



[>1] 



LOUIS EYSEN 



Landscape 

Painted 1873 



Height : 17 inches Signed on the back : "Louis 

Width : 221/o inches Eysen pinxit quod testat 

Oil on canvas Hans Thoma Karlsruhe 

Dated "August 15 — 73" Juli 1914" 



[423 



CHARLES SCHUCH 

[1846-1903] 

Schuch never made an attempt to gain recognition. Wealthy 
and independent as he was, necessity did not demand the sale 
of his pictures. Never satisfied with himself, and ever filled with 
an insatiable desire for perfection (as shown by his correspon- 
dence with his friend Hagemeister), he did not even exhibit his 
paintings and consequently remained unknown to the time of 
his death. The posthumous exhibition as well as the "Centenary 
Exhibition, 1906" in Berlin showed that this friend of Leibl 
and Trubner had been one of the greatest still-life painters of 
all times and an admirable painter of landscapes. His works are 
devoid of impressionistic elements ; they are composed in clear 
and decisive, yet very mellow tones. One admires in every Schuch 
picture the preciousness of texture which makes the surface of 
objects appear luminous; his colors gleam and glow in lucid 
splendor like jewels. Schuch achieves his effects by means of 
these colors rather than by draughtsmanship ; yet notwithstand- 
ing this exquisite tenderness his brush has an almost sculptural 
power of modelling. 



[«] 



LANDSCAPE NEAR BERNRIED, BAVARIA 



CHARLES SCHUCH 



C47] 



CHARLES SCHUCH 



Landscape near Bernried, Bavaria 

Painted 1872 



Height: 221/ 2 inches Signed "C. Schuch" 

Width : '30% inches Oil on canvas pasted on 

pasteboard 



Reproduced in "C. Schuch," by Carl Hagemeister (B. Cassirer, 
Berlin, publisher). 



:«: 



APPLES 



CHARLES SCHUCH 



[51] 



CHARLES SCHUCH 



Apples 

Painted 1876 



Height: 17 inches Signed "C. Schuch 1876' 

Width : 21 inches Oil on canvas 



Recorded in "Development of Modern Art," by Meier-Graefe, Vol. 
II, page 321 (R. Pieper & Co., Munich, publishers, 1915). 



[52] 



MILL IN PR AGS, TYROL 



CHARLES SCHUCH 



1552 



CHARLES SCHUCH 



Mill in Prags, Tyrol 

Painted 1877 



Height: 12% inches Signed "C. Schuch" 

Width: 16V> inches Oil on canvas 



Reproduced in "C. Schuch," by Carl Hagemeister (B. Cassirer, 
Berlin, publisher). 



156^ 






LANDSCAPE NEAR FERCH 

BY 

CHARLES SCHUCH 



1591 



CHARLES SCHUCH 



Landscape near Ferch 

Painted 1870 

Height : 26 inches Signed "C. Schuch' 

Width : -'35 inches Oil on canvas 



Reproduced in "Kunst und Kiinstler," Monthly Art Magazine, Vol. 
XI (B. Cassirer, Berlin, publisher). "Schuch in Ferch," article 
by Carl Hagemeister. 



L"6o] 



STILL-LIFE 



CHARLES SCHUCH 



1632 



CHARLES SCHUCH 



Still-life 

Painted 1887 



Height: 28 inches Signed "C. Schuch' 

Width: 21 1 /. inches Oil on canvas 



Reproduced in "C. Schuch," by Hagemeister (B. Cassirer, Berlin, 
publisher). 



[64] 



WILHELM TRUBNER 

[Born 1851] 

The roj-al robe of Leibl fell upon the shoulders of Wilhelm 
Triibner. He was Leibl's friend and pupil, he admired him and 
was inspired by him without losing his own personality. He has 
remained a master of independent individuality from the time 
of his unexampled precocity up to the present day. 

Musical prodigies are often heard of, but prodigies in paint- 
ing are hardly known in our times. Triibner was such a prod- 
igy. From his nineteenth year he started to create a large 
number of works of an old-masterly maturity and of a perfect 
pictorial conception such as only artists in the prime of their 
lives are capable of achieving. During his trips to Holland and 
Belgium he studied the old masters ; in 1869 he became familiar 
with the works of Manet and Courbet; he was stimulated by 
these various impressions, but he did not lose his personal note. 
Between 1871 and 1878 he created a number of masterpieces of 
wonderful quality which the world, with its usual attitude to- 
wards works of genius, declined. 

One of the first landscapes of Triibner, Beech-trees near 
Bernried, belonging to this collection, established the friendship 
between Leibl and the striving youth. Leibl praised this splen- 
did study highly. The famous Nun and the well-known Guar- 
dian were painted in 1872-73, while the Portrait of Himself, 
with its dash and vigor reminiscent of Courbet, was done in 1877. 

The young master, very unhappy over the lack of recogni- 
tion, then began to paint pictures of an anecdotal, mythological 
and fantastic character in order to appeal to the large public ; 
his painting nevertheless remained of high artistic quality. 
The period of French impressionism which soon followed had 
some influence on Triibner; the dark tones, the melodious soft- 
ness of his compositions yielded to a lighter palette, the mellow- 
ness remained, but the scale became higher and the stroke of the 
brush more energetic, more "impasto" and more elementary. 
The two landscapes of Castle Hemsbach (1904-05) and the 
one of Lake Starnberg (1907) give a clear illustration of Triib- 
ner's present technique and style. 



L67] 



BEECH-TREES NEAR BERNRIED, BAVARIA 



WILHELM TRUBNER 



Z691 



WILHELM TRUBNER 



Beech-trees near Bemried, Bavaria 

Painted 1871 



Height : 13 inches Signed "W. Trubner 8. 1871' 

Width: 18 inches Oil on canvai 



[70] 



THE WOMAN WITH RADISHES 



WILHELM TRUBNER 



[70a] 



WILHELM TRUBNER 



The Woman with Radishes 

Painted 1872 

Height : 22 inches Signed "W. Triibner 2. 1872" 

Widtli : 17 inches Oil on canvas 



L70B] 



THE NUN 

BY 

WILHELM TRUBNER 



1732 



WILHELM TRUBNER 



The Nun 

Painted 1872 



Height: 19^ inches Signed "W. Trubner 1872" 

Width: 15 V> inches Oil on canvas 



Recorded and reproduced in "Kunst und Kiinstler," Monthly Art 
Magazine, Vol. XI (B. Cassirer, Berlin, publisher). "W. Triib- 
ner," article by Lovis Corinth. 

Reproduced in the same magazine, Vol. XIII. "German Masters," 
article bv Karl Scheffler. 



L^II 



THE GUARDIAN 



WILHELM TRUBNER 



C77] 



WILHELM TRUBNER 



The Guardian 

Painted 1873 



Height: 19V 2 inches Signed "W. Trubner, 

Width : 18 inches Miinchen" 

Oil on canvas 



Reproduced in "W. Trubner," by Georg Fuchs (Georg Miiller, 
Munich, publisher). 



£78] 



PORTRAIT OF HIMSELF 



WILHELM TRUBNER 



[813 



WILHELM TRUBNER 



Portrait of Himself 

Painted 1877 



Height : 23!/2 inches Signed "Wilhelm Triibner 

Width: 19% inches 1877" 

Oil on canvas 



Recorded and reproduced in "Kunst und Kiinstler," Monthly Art 
Magazine, Vol. IX (B. Cassirer, Berlin, publisher). 



[82] 



CASTLE HEMSBACH 

(1904) 



WILHELM TRUBNER 



1852 



WILHELM TRUBNER 



Castle Hemsbach 

Painted 1904 



Height : 35% inches Signed "W. Trubner' 

Width : 30 inches Oil on canvas 



Recorded in "History of Painting," by Muther (Neufeld & Henius, 
Berlin, publishers). 



[86] 



CASTLE H EM SB AC H 

(1905) 



WILHELM TRUBNER 



1891 



WILHELM TRUBNER 



Castle Hemsbach 

Painted 1905 



Height : 3014 inches Signed "W. Trubner" 

Width : 35 14 inches Oil on canvas 



Recorded in "History of Painting," by Muther (Neufeld & Henius, 
Berlin, publishers). 



C90] 



VIEW ON LAKE STARNBERG 



WILHELM TRUBNER 



193-2 



WILHELM TRUBNER 



View on Lake Starnberg 

Painted 1907 

Height: 15% inches Signed "W. Trubner" 

Width : 241/4 inches Oil on canvas 



C94] 



THEODOR ALT 

[Born 1846] 

The fate of Theodor Alt is a tragic one. He had joined the 
"Leibl Circle" with great enthusiasm and begun his career with 
exquisite paintings of finest pictorial charm when disease para- 
lyzed his strength for work. To this day he has not been able 
to take the brush into his hand again. Of the very small number 
of works painted by him two belong to this collection. Uhde- 
Bernays in his essay on the painter ("Cicerone," Annual Set 
XI) has pronounced The Bowling-alley in this collection the 
best of Alt's creations. 



L971 



THE BOWLING-ALLEY 

BY 

THEODOR ALT 



1991 



THEODOR ALT 



The Bowling-alley 

Painted 1873 



Height : 28% inches Signed "Th. Alt" 

Width : 38 inches Oil on canvas 



Reproduced and recorded in "Cicerone," Monthly Art Magazine, 
Vol. V, No. 3. "Theodor Alt," article by Uhde-Bernays. 

Recorded in "Development of Modern Art," by Meier-Graefe, Vol. 
II, pages 310-328 (R. Pieper & Co., Munich, publishers, 1915). 



[loo] 



PEASANT HOUSES 



THEODOR ALT 



[103] 



THEODOR ALT 



Peasant Houses 

Painted 1873 



Height : 7^ inches 
Width: 1214 inches 



Signed "Th. Alt' 
Oil on canvas 



D04 ] 



HANS THOMA 

[Born 1839] 

The significance of Thoma lies chiefly in the works which he 
produced from the beginning of the 'seventies to the middle of 
the 'eighties. In that time he helped to open a hitherto unknown 
field to German art — simplicity and a true perception of nature. 
Like Leibl, he found his ideal in Courbet, whom he enthusi- 
astically heralded in Germany. An artist may receive stimu- 
lation from others as long as he assimilates what he sees and 
infuses this inspiration harmoniously into his own individual 
conceptions. The modern French painters, above all Manet, 
owe a great deal to the stimulative power of Velasquez, Goya, 
Greco and the Japanese. Thoma began with portraits, land- 
scapes and figure works which insure him a lasting place in the 
history of art ; they are full of a tender mood, show a great 
intimacy of perception and are of the highest technical quality. 
Later he lost poise ; he began to place the poetic subject above 
the painter's technique ; he became fascinated by themes similar 
to those of Bocklin. He wasted his powers on biblical topics for 
which he lacked vigor; he diffused his talent in the painting of 
allegories and fabulous creatures like sea monsters, nixies, 
fauns, etc. ; only rarely did he wrest a painting from this second 
period of his life that recalled the creator of the beautiful works 
of his youth. 



[107] 



ORANGE GROVE IN SORRENTO 



HANS THOMA 



L1093 



HANS THOMA 



Orange Grove in Sorrento 

Painted 1880 



Height: 21^ inches Signed "Hans Thoma 

Width: 14*4 inches Sorrento 1880" 

Oil on pasteboard 



[no] 



SUMMER NIGHT 



HANS THOMA 



[113] 



HANS THOMA 



Summer Night 

Painted 1882 



Height: 17 inches Signed "H. Th. 1882" 

Width : 13 inches Oil on canvas 



Reproduced in "Hans Thoma" ("Classics of Art," Deutsche Ver- 
lagsanstalt, Stuttgart, publishers). 

Reproduced in colors in "Colored Prints," edited by the "Jugend," 
No. 2691 (Georg Hirth, Munich, publisher). 



[11*3 



WILHELM VON LINDENSCHMIT 

[1829-1895] 

Wilhelm von Lindenschmit will live in the history of art as 
one of the successful teachers (Munich Academy). An entire 
generation of painters studied under him. His pictures of the 
life of Luther and Ulrich von Hutten will also help to keep his 
name from being forgotten. These paintings, although not 
created by a man of genius, show the high artistic culture of 
Munich at that time and also demonstrate the effect which 
devoted observation and earnest study of the old masters may 
produce upon a less gifted personality. 



Din 



LUTHER AND THE REFORMERS AT MARBURG 

BY 

WILHELM VOX LINDENSCHMIT 



CH93 



WILHELM VON LINDENSCHMIT 



Luther and the Reformers at Marburg 

Painted 1873 



Height : 55^ inches Width : 69 inches 

Oil on canvas 



Recorded in "History of Munich Art in the XIX Century," by 
Pecht. 

Recorded in "Works of Painters," by Boetticher. 

Recorded in "The Art of the XIX Century," by Liibke-Haack (P. 
Neff, Esslingen, publisher). 



L"i2on 



KARL SPITZWEG 

[1808-1885] 

The "little genre-painter" was hardly noted during his life- 
time; he sold for a trifling sum one small picture after another 
and was happy and contented in his modest Munich garret. He 
died in 1885. The "Centenary Exhibition in Berlin in 1906," 
where a whole room was reserved for his paintings, marked the 
beginning of Spitzweg's glorious resurrection from oblivion. 
Foreign countries quite justly take a critical attitude toward 
German genre-painting; Spitzweg, its forerunner and classic 
exponent, must not be confounded with his mediocre followers. 
He deserves an exceptional place in art because in his idyls, full 
of charm and humor, he always preserves distinction and poetry. 
Influenced by the old Dutch, he also knew how to use the im- 
pressions received from the School of Fontainebleau and from 
other French masters. He developed, from an originally 
minutely detailed technique, a broad free stroke of an enchant- 
ing quality with a keen sense for colors which makes his pictures 
shine and glitter like precious stones. He is equally charming 
whether he portrays an Alpine pasture or a small country town ; 
whether he tells of olden times or merry comedians ; of moonlight 
magic, picnics, children or old people ; of the Victorian period 
or of bands of gypsies. Hundreds of themes which he treated 
could be enumerated. Nobody minds his being a narrator as 
his themes do not interfere with the artistic quality of his work. 
Spitzweg is the only one of all genre-painters who deserves 
international fame. The picture in this collection, The Letter- 
carrier, shows his preference for mediaeval towns with many wind- 
ing streets and crooked turnings ; he found fitting scenes for 
these studies in Munich, in Rothenburg ob der Tauber, and in 
many Tyrolian market-towns. 



[123] 



THE LETTER-CARRIER 



KARL SPITZWEG 



Z™*1 



KARL SPITZWEG 



The Letter-carrier 

Painted 1870 



Height : 22% inches Oil on paper pasted on 

Width: 17 inches canvas 



Reproduced in "Karl Spitzweg," by Uhde-Bernars (Delphin Edi- 
tion, Munich, 1914). 



[126] 



FRITZ VON UHDE 

[1848-1911] 

Liebermann was the first German artist who brought open-air 
painting to Germany. On a trip to Zandvoort in Holland he 
disclosed to Uhde the wonders of painting out of doors and found 
in him an enthusiastic follower. Uhde, who had been a pupil of 
so great a master as Michael von Munkacsy, became the con- 
vinced propagandist of the new doctrine. His first picture in- 
spired by the modern idea was Drum Practice, now in the Dres- 
den Museum ; it aroused keen opposition which increased to a 
storm of indignation when Uhde began to paint that long series 
of religious and highly poetical pictures which show the Saviour 
as a pilgrim mingling with the poor of our time, and which deal 
with such themes as Suffer little Children to come unto me, Come, 
Lord Jesus, be our Guest, The Prayer at Table, The Last Sup- 
per, The Sermon on the Mount, Holy Night, Departure for 
Bethlehem, and similar subjects. These religious themes are ex- 
pressed in a democratic manner with the most modern methods 
of painting. The public has now become accustomed to these 
pictures, they are not felt to be as revolutionary as formerly. 
They possess a heartfelt simplicity and above all such a splendid 
artistic quality that The Prayer at Table, now in the Musee du 
Luxembourg in Paris, has often been imitated by French paint- 
ers, for example by Lhermitte in the large canvas now in the 
possession of the Metropolitan Museum of Art in New York. 

Uhde was one of the courageous leaders during the years of 
struggle for open-air painting. Besides his religious subjects 
he has interpreted with fine atmospheric quality the beauty of a 
snowy landscape, of a forest, of a garden. The numerous pic- 
tures of his daughters, whom he never tired of painting, rank 
amongst the most admirable creations of this great artist; two 
of these paintings belong to this collection. 



[129] 



THE PICTURE-BOOK 



FRITZ VON UHDE 



Z1811 



FRITZ VON UHDE 



The Picture-book 

Painted 1889 



Height : 231/2 inches Signed "F. Uhde' 

Width: 19Y± inches Oil on canvas 



Recorded and reproduced in "Uhde" ("Classics of Art," Deutsche 
Verlagsanstalt, Stuttgart, publishers). 



[132] 






IN THE GARDEN 



FRITZ VON UHDE 



C1S53 



FRITZ VON UHDE 



In the Garden 

Painted 1903 



Height : 29^ inches Signed "F. Uhde' 

Width : 35^4 inches Oil on canvas 



.Reproduced and recorded in "Uhde" ("Classics of Art," Deutsche 
Verlagsanstalt, Stuttgart, publishers). 



D36H 



HUGO VON HABERMANN 

[Born 1849] 

Hugo von Habermann is one of the most original of German 
artists. After studying under Piloty, he began to work in the 
style of the old masters. His pictures of this early period are 
remarkable for their rare taste and vivid conception of color. 
We notice also a broad and free stroke of the brush new to the 
school of Piloty. The interior painting of the Piloty Studio, 
which belongs to this collection, gives an example of these quali- 
ties. After a short period of painting in the style of Delacroix, 
Habermann finally found a style of his own ; his palette became 
brighter, and he created that large series of women's portraits 
which made him famous. The models he picked out are far from 
being beautiful; it would appear that Habermann wished to 
prove the paradox that even ugliness contains a hidden beauty. 
His landscapes are equally individual in conception and tech- 
nique; all his pictures show the serpentine stroke of the brush 
which gives his works a peculiar distinction. 



[139] 



PILOTY'S STUDIO 



HUGO VON HABERMANN 



[141] 



HUGO VON HABERMANN 



Pilotys Studio 

Painted 1876 



Height: 2414 inches Signed "1876 Habermann" 

Width : 19% inches Oil on canvas 



Recorded and reproduced in "Habermann," by Fritz von Ostini 
(Pieper & Co., Munich, publishers). 



[142] 



DRESSING FOR A DANCE 



HUGO VON HABERMANN 



D45] 



HUGO VON HABERMANN 



Dressing' for a Dance 

Painted 1911 



Height: 52 inches Signed "1911 Habermann' 

Width : 321/j inches Oil on canvas 



Recorded in "Habermann," by Fritz von Ostini (Pieper & Co., 
Munich, publishers). 



[146] 






CASTLE UNSLEBEN 



HUGO VON HABERMANN 



[149] 



HUGO VON HABERMANN 



Castle Unsleben 

Painted 1911 



Height: 37^ inches Signed "Habermann 11" 

Width: 21% inches Oil on canvas 



D50U 



ALBERT VON KELLER 

[Born 1854] 

Albert von Keller is the painter of "high life"; he feels at 
home in aristocratic circles. His pictures representing society 
events belong to his most typical works, his brush interprets the 
atmosphere of the drawing-room with splendid skill. His por- 
traits of ladies of the nobility are of distinguished refinement, 
particularly the portraits of his wife ; one of them belongs to 
this collection. He has also treated religious themes (Awaken- 
ing of Jairus' Daughter, Pinakothek, Munich) with ability and 
has portrayed with fine sensitiveness such subjects as the dancer 
Madeleine who aroused a big sensation some years ago with her 
"hypnotic dances" in Europe. The few landscapes painted! 
during the first period of his career excel in their poetic con- 
ception and exquisite delicacy. The Rococo Park in this collec- 
tion rivals the best works of the masters of Fontainebleau. 



[153] 



ROCOCO PARK 



ALBERT VON KELLER 



L.155] 



ALBERT VON KELLER 



Rococo Park 

Painted 1873 



Height : 23 inches Signed "A. Keller 1873" 

Width: 17^/o inches Oil on canvas 



1156-2 



PORTRAIT OF THE ARTIST'S WIFE 



ALBERT VON KELLER 



[159] 



ALBERT VON KELLER 



Portrait of the Artist's Wife 

Painted 1880 

Height : 20% inches Signed "A. Keller 1880" 

Width: Viy± inches Oil on canvas 



[160 3 



IN THE GARDEN OF THE VILLA 
WOLKONSKI IN ROME 



ALBERT VON KELLER 



[163 2 



ALBERT VON KELLER 



In the' Garden of the Villa 
Wolkonski in Rome 

Painted 1885 



Height: 11 inches Width: 19% inches 

Oil on canvas 



Recorded in "A. von Keller," by Hans Rosenhagen (Velhagen & 
Klasing, Leipzig, publishers). 



[164] 



FRANZ VON STUCK 

[Born 1863] 

Among the painters of German origin Franz von Stuck is one of 
the best known in America, possibly on account of the many 
reproductions of his works in black and white. Stuck began his 
work consciously inspired by Bocklin, whose fauns, centaurs, 
nixies and other fairy-folk fascinated him. In spite of this influ- 
ence he was able to preserve a certain originality and he discov- 
ered harmonies of color which helped him to form a style of his 
own. Besides being a striking colorist he has created works of a 
monumental type which have assured him a place among the 
eminent artists of our time. The canvas Carmen in this collec- 
tion represents Stuck both as painter of a monumental style and 
as a distinguished colorist. 



[lo-TH 



CARMEN 



FRANZ VON STUCK 



LWl 



FRANZ VON STUCK 



Carmen 

Painted 1902 



Height: 48y 2 inches Signed "Franz Stuck 1902 

Width: 37Vi» inches Carmen" 

Oil on canvas 



Reproduced in "Franz Stuck," by Ostini (Hanfstaengl, Munich, 
publisher). 



[170] 



TONI STADLER 

[Born 1850] 

Stadler did not grapple with world-stirring themes ; he is not 
one of the great spirits whose art arouses intense discussion ; he 
has a noble soul which conceives Nature with loving fervor and 
in a highly individual manner. A landscape by Stadler shows in 
every exhibition a strong contrast to the surrounding canvases. 
He is particularly fortunate in depicting distances ; his far per- 
spectives, especially those of the Bavarian highlands, enchant 
by the masterly presentation of sky and earth, of nearness and 
of distance, and through the innumerable shades of color which 
his palette commands. 



zwi 



BAVARIAN LANDSCAPE 



TONI STADLER 



D75] 



TONI STADLER 



Bavarian Landscape 

Painted 1912 



Height: 19% inches Signed "T. Stadler 1912" 

Width : Qft 1 ^ inches Oil on canvas 



pre: 



HEINRICH VON ZUGEL 

[Born 1850] 

Heinrich von Zugel is one of the greatest animal painters of 
our time. He began his career with pictures of exquisite soft- 
ness and tenderness of tone. This quality is especially shown 
by his sheep, the fleece of the animals being painted in mellow 
shades. An example of this early period of his art — reminiscent 
of Jacque but of still finer quality — is the picture The Sheep- 
farm of this collection. Later Ziigel began to paint in brighter 
tones and in a broader technique, as for instance in the picture 
Shepherd and Flock. To-day he is far from his original mode 
of work. He models his oxen with great vigor in thick, rich 
layers of paint with intense sunlight falling upon their mighty 
backs. For the tender quality of his early pictures he has sub- 
stituted a broad stroke and brilliant sunlight effects similar to 
those of Sorolla. He is now a great virtuoso of the brush, much 
to the regret of the admirers of the wonderful art of his youthful 
period. 



C1791 



THE SHEEP-FARM (WOLKENHOF) 



HEINRICH VON ZUGEL 



psin 



HEIXRICH VON ZUGEL 



The Sheep-farm ( Wolkenhof) 

Painted 1871 



Height : 26% inches Signed "H. Ziigel, Miinchen' 

Width: lS 1 ^ inches Oil on canvas 



Reproduced in "H. Ziigel," by Georg Biermann (Velhagen & 
Klasing, Leipzig, publishers). 



[182] 



SHEPHERD AND FLOCK 



HEINRICH VON ZUGEL 



[185] 



HEINRICH VON ZUGEL 



Shepherd and Flock 

Painted 1883 

Height : 19 inches Signed "H. Ziigel' 

Width : 22 inches Oil on canvas 



c i86:i 



ADOLPH VON MENZEL 

[1815-1905] 

It is well-nigh impossible to characterize by a few words a gigan- 
tic artistic personality like Menzel, the more so as his work 
shows a marked inequality. We are indebted to him for works 
such as only geniuses are capable of creating, but we cannot 
overlook those others which show merely mechanical merits. 

Menzel, born in Breslau, began his career as a lithographer. 
In 1830 he went to Berlin and attracted general attention when, 
after an extensive study of the period of Frederick the Great, 
he produced the woodcuts that illustrated Kugler's history of 
the Prussian king. These woodcuts surpassed in draughtsman- 
ship and power of conception anything that had been accom- 
plished in the art of illustration in modern times. Menzel's 
talent as a draughtsman is unsurpassed in the history of art. 
His pencil was ever with him, he held it in his hand until death 
relaxed his grasp. During the 'forties Menzel produced several 
oil paintings suggested by his every-day surroundings, such as 
The Balcony, Yard with Willows, Potsdam Railway, etc. In 
these works he already seized and evolved problems of technique 
— particularly in The Balcony, which occupied the French 
artists many years later and which afterwards became the watch- 
word of the "New Art." 

It can hardly be imagined to what height Menzel might have 
led German art at that time if he had recognized the enormous 
artistic value of these works. But he considered them only as 
"little studies" and became interested in historical painting, a 
victim of the taste of his time. He created a large number of 
pictures representing the life of Frederick the Great, which 
possess wonderful qualities of detail, charming effects of light 
and color, but whose emphasis lies more in the subject than in 
the painting itself. Although the historical exactness and the 
imagination displayed in these pictures are as remarkable as 
their composition, we are from an artistic point of view unable to 
understand to-day the boundless admiration which they aroused 
when they appeared. 

C189] 



In another series of pictures which he painted much later 
(incidents in the life of Emperor Wilhelm I) he lost himself in 
the same way in too much detail by his effort to portray every 
group with microscopic exactness. The charge of too much 
detail and of a lack of definite composition must also be brought 
against his paintings of street scenes, promenades, processions, 
even against the powerful presentation of labor in his painting 
The Foundry. 

Two trips to Paris had a marvellous influence on Menzel's art : 
once more he produced works of exquisite perfection. In 1855 
Menzel witnessed a performance at the Theatre Gymnase. The 
impressionistic picture of this experience which he painted from 
memory is one of the most splendid examples of modern art and 
alone would suffice to make the name of Menzel immortal. This 
picture and The Balcony, the most beautiful work of the young 
Menzel, are the pride of the Berlin National Gallery. 

The second trip to Paris in 1867 was again a real inspiration 
for Menzel. Meier-Graefe says in his very critical and ingenious 
book, "The Young Menzel": "This journey inflated the slack- 
ening sails of his art like a fresh breeze and he painted his 
best pictures of the 'sixties from the Parisian motives, where the 
ever-changing festive throng fascinated him. . . ." One of the 
two important pictures painted in 1867, The American Res- 
taurant at the World's Fair in Paris, belongs to this collection. 
The impression is rendered in the most modern manner, every 
detail is subordinated to the concentrated effect of the whole ; 
the mass of people appears to the spectator as a harmonious 
ensemble. 

The marvellous drawings and water-colors, the splendid 
gouaches and lithographs, the admirable woodcuts, fine etchings, 
etc., which Menzel produced during his long life, are innumerable 
— the spacious National Galley in Berlin proved to be too 
small for the Menzel Memorial Exhibition in 1905. 

Tribute was paid not only to the genius but also to the rest- 
less energy of this painter who during his lifetime had honors 
showered upon him like no other artist of our days. 



Zwi 



MAN READING 



ADOLPH VON MENZEL 



twi 



ADOLPH VON MENZEL 



Man Reading 

Painted 1850 



Height: 10 ; )4 inches Signed "Erinnerung A. M.' 

Width : 8y± inches Gouache 



Recorded and reproduced in "A. von Menzel," by Tschudi (Bruck- 
mann Society, Munich, publishers). 



[192] 



THE AMERICAN RESTAURANT AT THE 
WORLD'S FAIR IN PARIS, 1867 



ADOLPH VON MENZEL 



D95: 



ADOLPH VON MENZEL 



The American Restaurant at the World's 
Fair in Paris, 1867 

Painted 1867 



Height: 6^ inches Signed "Ad. Menzel" 

Width : 414 inches Oil on panel 



Recorded and reproduced in "A. von Menzel," by Tschudi (Bruck- 
mann Society, Munich, publishers). 

Recorded and reproduced in "History of Art," by Springer (A. 
Seemann, Leipzig, publisher). 

Recorded and reproduced in colors in "Adolph von Menzel," by 
Meyerheim (Paetel, Berlin, publisher). 

Reproduced in colors in "The Art in Colors" (No. 2006), by See- 
mann, Leipzig (Farbige Kunstblatter). 

Recorded in "Der junge Menzel," by Meier-Graefe (Insel-Verlag, 
Leipzig, publishers). 

Recorded in "Menzel," by Scheffler (B. Cassirer, Berlin, publisher). 



11196] 



MAX LIEBERMANN 

[Born 1847 in Berlin] 

Max Liebekmann is to Germany what Edouard Manet is to 
France. Like Manet, he liberated painting from the dark tones 
of the old masters and took it out of the dimness of the studios 
into the freedom of light and air, to pleinairism and impression- 
ism. At the beginning of his career Liebermann painted like all 
of his contemporaries in the manner of the old school; he was 
under the influence of Munkacsy, as is shown by his first large 
canvas, Women Plucking Geese. In Holland he came under the 
influence of Israels ; in France, the Barbizon painters and the 
Impressionists were to him a source of valuable suggestion and 
inspiration. He understood how to transfuse these impressions 
into his own works and to create something entirely individual 
out of the mingled elements. Liebermann is in all of his pictures 
primarily subjective, not from a lack of profound respect for his 
object but rather on account of this respect. He is spirited and 
full of temperament ; he possesses a refined taste and his art is of 
such a highly personal character that one can with a great de- 
gree of certainty recognize a Liebermann painting among a thou- 
sand others. He is always interesting as a colorist, and even in 
the most impressionistic of his works he shows himself a master- 
ful draughtsman. His art may not have the flowing grace of the 
French, for whom he has an intense admiration, but it has an 
element of splendid virility which commands high esteem. His 
inner fervor gives an ardent life to his works ; he possesses the 
highly strung nervous organization of the modern man, and 
sensitive impetuosity is perceptible throughout his pictures ; he 
grasps the moment with lightning rapidity and all his paintings 
are permeated with air and light. There is not a theme which 
he would not be able to treat in his most personal manner. 

The eight works of Liebermann in this collection are from 
different periods of his life and show his continuous development 
from the time when he outgrew the influence of Munkacsy. 
The Spinners, in spite of the warm, vibrant tone, is free from 

[199: 



the earlier close atmosphere of the studio. Liebermann's power 
to represent people in activity is splendidly manifested in the 
four old women quietly at work in the room that shimmers 
with light. The Cobbler's Shop is one of his standard works. 
Two versions of this picture are in existence; one is in the pos- 
session of the Berlin National Gallery, the other belongs to this 
collection. The two principal biographers of Liebermann, 
Ernst Hancke and Karl Scheffler, prefer the painting in this 
collection because it is the first and was done directly after 
nature. It is mellow and soft in spite of the broad quality of 
technique. Hochede, the famous French art critic, wrote after 
the exhibition of The Cobbler's Shop at the Paris Salon of 
1881 : "If you have found the secret of pleinair, my dear Manet, 
Liebermann knows how to paint light in interiors. I should 
gladly exchange five hundred square yards of the Paris Salon 
canvases for his small picture." 

The Court-yard, painted 1882, is striking on account of the 
masterly solution of the problem of space. The Girl from Laren, 
painted 1886, recalls the names of Millet and even of Hals. 
The Parrot-keeper (1902) shows a radiating brilliance of color 
and an astonishing impressionism. The Polo-players (1907) 
might recall Degas, but here, too, Liebermann transfused this 
picture with a highly personal note. Very interesting and full 
of individual treatment are his Dune Landscapes, of which the 
painting in this collection is an example (1913). It is surpris- 
ing how Liebermann found even in this monotonous part of Hol- 
land inspiration for paintings so original and of such differing 
character and mood. 

The Portrait of Himself (1911) displays Liebermann's great 
power and conciseness in portraiture. The fact that the mas- 
ter's Garden of a Restaurant was acquired for the Musee du 
Luxembourg in Paris is a striking proof of France's apprecia- 
tion of Liebermann's art. 



[200] 



THE SPINNERS 

BY 

MAX LIEBERMANN 



L201H 



MAX LIEBERMANN 



The Spinners 

Painted 1879 

Height: 311/o inches Signed "M. Liebermann" 

Width : 35^/> inches Oil on canvas 



Reproduced in "Liebermann" ("Classics of Art," Deutsche Verlags- 
anstalt, Stuttgart, publishers). 

Recorded and reproduced in "Liebermann," by Rosenhagen (Vel- 
hagen & Klasing, Leipzig, publishers). 



L202] 



THE COBBLER'S SHOP 



MAX LIEBERMANN 



[205: 



MAX LIEBERMANN 



The Cobbler s Shop 

Painted 1880 

Height: 8l/o inches Signed "M. Liebermann*' 

Width: 11V? inches Oil on panel 

Recorded in the Catalogue of the Paris Salon, 1881. 

Recorded and reproduced in "Liebermann" ("Classics of Art," 
Deutsche Verlagsanstalt, Stuttgart, publishers). 

Recorded in "Max Liebermann," by Karl Scheffler (Pieper & Co., 
Munich, publishers). 

Recorded and reproduced in "Liebermann," by Erich Hancke (B. 
Cassirer, Berlin, publisher). 



[206] 



THE COURT -YARD 



MAX LIEBERMANN 



C209U 



MAX LIEBERMANN 



The Court-yard 

Painted 1882 



Height: IOV2 inches Signed "M. Liebermann' 

Width: 1414 inches Oil on panel 



Recorded in "Liebermann/' by Hancke (B. Cassirer, Berlin, pub- 
lisher). 



[210] 



THE GIRL FROM LAREN 



MAX LIEBERMANN 



[213] 



MAX LIEBERMANN 



The Girl from Laren 

Painted 1886 



Height : SO 1 /^ inches Signed "M. Liebermann' 

Width: 16*4 inches Oil on pasteboard 



Recorded and reproduced in "Liebermann," by Hancke (B. Cas- 
sirer, Berlin, publisher). 



[214] 



THE PARROT-KEEPER 



MAX LIEBERMANN 



C217H 



MAX LIEBERMANN 



The Parrot-keeper 

Painted 1902 

Height : Sd 1 /^ inches Signed "M. Liebermann 1902' 

Width : 27^ inches Oil on canvas 



Reproduced in "Liebermann" ("Classics of Art," Deutsche Ver- 
lagsanstalt, Stuttgart, publishers). 

Recorded in "History of Painting," by Mutter (Neufeld & Henius, 
Berlin, publishers). 



[218H 



THE POLO-PLAYERS 



MAX LIEBERMANN 



[221] 



MAX LIEBERMANN 



The Polo-players 

Painted 1907 



Height: 11 inches Signed "M. Liebermann' 

Width : 17% inches Oil on panel 



Reproduced in "Liebermann" ("Classics of Art," Deutsche Ver- 
lagsanstalt, Stuttgart, publishers). 

Recorded in "History of Painting," by Muther (Neufeld & Henius, 
Berlin, publishers). 



[222] 



PORTRAIT OF HIMSELF 



MAX LIEBERMANN 



[225] 



MAX LIEBERMANN 



Portrait of Himself 

Painted Ipll 



Height: 15 inches Signed "M. Liebermann 19ll : 

Widtli : lSVo inches Oil on panel 



[226] 



IN THE DUNES 



MAX LIEBERMANN 



[229:1 



MAX LIEBERMANN 



In the Dunes 

Painted 1913 



Height: 27^ inches Signed "M. Liebermann' 

Width : 39 V2 inches Oil on canvas 



C230: 



MAX SLEVOGT 

[Born 1868] 

Slevogt is usually regarded as belonging to the modern Berlin 
School of painters, although he is a Bavarian by birth and re- 
ceived his education in Munich. Notwithstanding this fact he 
not only lives in the capital, but the character of his work places 
him in the "Menzel-Liebermann class." His great talent as an 
illustrator recalls Menzel, although his paths are different from 
those of the older master. Slevogt's illustrations are unique ; 
they are an ingenious transposition of impressionism to book 
illustration. 

As a painter his relationship to Liebermann is similar to 
Renoir's to Manet; one may include him in the circle of the 
master without calling him an imitator. Slevogt is an artist of 
strong individuality and of an impulsive temperament. The 
garden view entitled The Chestnut-tree gives an idea of his 
impressionistic manner of portraying nature, and his picture of 
himself shows him as a portrait painter of eminence. He has 
already created many important works, but as he is still quite 
young, and as each creation of his marks an advance, high ex- 
pectations are connected with the name of Slevogt: he is not 
only a valuable possession — he is a great promise for the develop- 
ment of art. 



[233] 



THE CHESTNUT-TREE 



MAX SLEVOGT 



£235: 



MAX SLEVOGT 



The Chestnut-tree 

Painted 1903 



Height: 19-J4 inches Signed "M. Slevogt' 

Width : 2&V9 inches Oil on canvas 



Reproduced in "Die Kunst," 1906 (Bruckmann, Munich, publisher). 
"M. Slevogt," article by Rosenhagen. 



[236: 



PORTRAIT OF HIMSELF 



MAX SLEVOGT 



12391 



MAX SLEYOGT 



Portrait of Himself 

Painted 1Q15 



Height : 18 inches Signed "Slevogt 1915' 

"Width : 14- : }4 inches Oil on canvas 



[2 10 : 



LOVIS CORINTH 

[Born 1858] 

One has to go back to Rubens in order to find a painter who 
might be called a precursor of Corinth ; nobod}' since the great 
Fleming's time has portrayed overflowing and exuberant 
strength to such a degree as this artist. He delights in paint- 
ing the nude body of man and woman ; his figures pulsate with 
vitality, he interprets the flesh with an unequalled virtuosity ; 
sometimes, however, he approaches the sensual and brutal to an 
extent offensive to refined taste. He has a vivid imagination 
and a wide range or repertoire. He portrays religious and 
classic themes, impressionistic and pleinair studies, paints por- 
traits, landscapes and still-life, both imaginary and realistic 
subjects. His peculiar Portraits of Himself form a special 
chapter among his manifold creations. The most famous of 
these, which shows him with his wife and is called The Con- 
queror, belongs to this collection. Prof. Dr. Biermann, 
Corinth's biographer, considers this painting a climax in the 
work of the artist. 



[243: 



THE CONQUEROR 

(Portrait of the Artist and his Wife) 

BY 

LOVIS CORINTH 



[245] 



LOVIS CORINTH 



The Conqueror 

(Portrait of the Artist and his Wife) 
Painted 1010 



Height : 5&y± inches 
Width: 43^4 inches 



Signed "Lovis Corinth 1910" 
Oil on canvas 



Recorded and reproduced in colors in "Corinth," by G. Biermann 
(Velhagen & Klasing, Leipzig, publishers). 



[246: 



WALTER LEISTIKOW 

[1865-1908] 

A sympathetic painter without any element of storm and stress 
is Walter Leistikow, an artist with a clear eye and a practised 
hand, an original personality within a somewhat limited field. 
Leistikow attracted public attention at first by his charming 
views of the vicinity of Berlin, which revealed beauties of this 
sandy country heretofore unknown. He showed that a Grune- 
wald Lake at sunset, with the trunks of the surrounding pine- 
trees glowing like flames, may inspire as enchanting a picture as 
the most romantic Alpine landscape. Later he expanded his field 
of activity by seeking motives in Scandinavia. Denmark, with 
the placid serenity of its small lakes, attracted his special inter- 
est, and here he created pictures of a strong personal note. The 
painting in this collection is the result of one of his excursions 
to Denmark. Leistikow reached the age of only forty-three 
years. His untimely death destroyed the great hope that had 
been felt in his further development. 



[249^ 



DANISH LANDSCAPE 



WALTER LEISTIKOW 



C2513 



WALTER LEISTIKOW 



Danish Landscape 

Painted 1899 

Height: 29 1 /:} inches Signed "W. Leistikow" 

Width : 391/2 inches Oil on canvas 



[252 J 



GOTTHARD KUEHL 

[1850-1915] 

Kuehl belonged to the most modern school of the 'eighties, at 
the time when the struggle over the new art was at its most in- 
tense stage. After serious studies in Munich and Paris he was 
called to the Dresden Academy, where he was active until his 
death. Kuehl always remained an enthusiastic prophet of 
the doctrine of "light and air," and he showed himself to be 
a colorist of especially fine feeling. His paintings are distin- 
guished by a bright color quality and a noble and harmonious 
effect. His city views represent the height of his rich creations ; 
it was particularly the baroque beauty of Dresden that inspired 
him to many exquisite paintings. 



L2551 



THE AUGUSTUS BRIDGE IN DRESDEN 



GOTTHARD KUEHL 



t^n 



GOTTHARD KUEHL 



The Augustus Bridge in Dresden 

Painted 1906 



Height: 14^ inches Signed "Gotthard Kuehl 

Width: 18% inches 2 1. 06" 

Oil, gouache and pastel on pasteboard 



[258: 



ANDREAS ACHENBACH 

[1815-1910] 

Andreas Achenbach is a name familiar to Americans, for 
many of his pictures were brought to this country at the time 
of his early fame. He learned his craft at Dusseldorf and 
thoroughly studied the old masters of the XVII century in Hol- 
land, but did not become their imitator. He looked at the world 
in his own way, displaying a great preference for effective 
and dramatic scenes in nature. Although no ingenious con- 
queror of new artistic fields, he had in his way a beneficent in- 
fluence upon the rising generation of German painters because 
of his solid technique, his reverence for nature and his refusal 
to interpret with his brush things which do not belong to the 
domain of pure art. The history of art will give him high credit 
for producing real landscapes at a time when other painters 
flooded their studios with anecdotes and stories. The painting 
in this collection unfortunately does not rank among the repre- 
sentative creations of the artist ; it was painted when Achenbach 
was no longer in full command of his powers. 



[261] 



DUTCH HARBOR 



ANDREAS ACHENBACH 



[263 3 



ANDREAS ACHENBACH 



Dutch Harbor 

Painted 1881 



Height: lS 1 /^ inches Signed "A. Achenbach 81" 

Width : 17% inches Oil on panel 



[264] 



OSWALD ACHENBACH 

[1827-1905] 

Oswald Achenbach, the brother of Andreas Achenbach, had a 
preference for Italy ; he mostly depicted scenes laid in his favor- 
ite country. By his superior technique and strong imagination 
he produced vital works of lasting charm. The picture in this 
collection, Women Gathering Brushwood, is full of freshness 
reminiscent of the best French artists, while the Gulf of Naples 
shows the excellent instruction, the strong sense of color and the 
taste in composition of the artist. At the time of the intense 
struggle over the values of modern art in Germany, the original 
overestimation of the two Achenbachs was followed by a sharp 
depreciation; however, a new and just esteem for the great 
talent of these two brothers has begun to make up for the former 
injustice. 



[267] 



IN THE CHIGI PARK NEAR FLORENCE 



OSWALD ACHENBACH 



[269] 



OSWALD ACHENBACH 



In the Chigi Park near Florence 

Painted 1854 

Height: 141/2 inches Signed "Oswald Achenbach' 

Width: 21% inches Oil on canvas 



Recorded in the "Cyclopaedia of Paintings" (Scribners, New York, 
publishers). 



[270] 



PALAZZO SANT'ANNA NEAR NAPLES 



OSWALD ACHENBACH 



[273] 



OSWALD ACHENBACH 



Palazzo Sanf Anna near Naples 

Painted 1876 

Height: 39T/2 inches Signed "Oswald Achenbach' 

Width: 47 1 /:! inches Oil on canvas 



[274] 



LUDWIG KNAUS 

[1829-1910] 

There was a time when the name of Knaus was familiar to 
everyone, when a world-wide fame enabled him to obtain un- 
heard-of prices for his pictures, when each new painting of his 
was impatiently awaited like the new novel of a fashionable writer 
of fiction. As a matter of fact, it was not the quality of the 
paintings, but their contents, that made these pictures popular. 
Knaus had the charming talent of a narrator, and at a time 
when art had gone astray, when it had been forgotten that the 
primary value of a painting is its artistic quality and not its 
narrative elements, it was easy for this clever story-teller to be 
successful, particularly as he thoroughly understood the techni- 
cal part of his art and showed a certain elegance as a colorist. 
But Knaus emphasized the story of his pictures to obtrusive- 
ness, he overcrowded them with infinite detail, thus exaggerating 
the manner of Gerome and Meissonier, who were at that time 
painting in France. 

To-day most of these paintings impress us as flat and anti- 
quated; we dislike them because of their sentimental sweetness, 
as, for instance, the Madonna and the Rag Baby in the 
Metropolitan Museum in New York, which appear to the con- 
noisseurs like cheap porcelain-paintings. Knaus is partly re- 
sponsible for the poor reputation of German art in foreign coun- 
tries. He did not, however, always show so little taste and he 
has produced some portraits of rare charm. At times he also 
painted, for his own pleasure, figures and landscapes without 
any narrative suggestion — good painting for good painting's 
sake ; fortunately, one of these belongs to this collection. Such 
works will contribute to vindicate Knaus's fame in the history 
of art. 



[277] 



THE SWINEHERD 



LUDWIG KNAUS 



[279] 



LUDWIG KNAUS 



The Swineherd 

Painted 1878 



Height: 19 1 /! inches Signed "L. Knaus 78' 

Width: 14l/> inches Oil on canvas 



[280] 



EDUARD VON GEBHARDT 

[Born 1838] 

The German-Russian painter Eduard von Gebhardt has achieved 
great fame through his religious pictures. He introduced a new 
element into Protestant church painting. The Saviour appears 
as a contemporary of Luther, the scene is laid in mediaeval in- 
stead of ancient times, thus bringing the biblical events nearer 
to the feelings of Protestants. His large compositions, how- 
ever, have at times an academic and theatrical effect and remind 
one of the studio where they seem to have been carefully ar- 
ranged. His studies show a more spontaneous talent. The 
single figure is to him a favorite subject for profound analysis 
of character, for expression of fervor, enthusiasm, sorrow and 
piety, as is shown in the painting in this collection. 



[283] 



ADORATION 



EDUARD VON GEBHARDT 



[285] 



EDUARD VON GEBHARDT 



Adoration 

Painted 1890 






Height : Si 1 /* inches Signed "E. v. Gebhardt' 

Width: 18^ inches Oil on panel 



[286: 




I l: i ,1 



GUSTAV SCHONLEBER 

[Born 1851] 

Schonleber is exclusively a landscape painter ; he is the founder 
of the modern school of Karlsruhe, where he is still active. 
The two paintings in this collection show him as an artist of 
fine technique and delightful delicacy. His Colmar is of a 
soft mellowness that reminds one of Daubigny's Evening in the 
New York Metropolitan Museum of Art. Although he has not 
cut out new paths for art (to do this is the privilege only of a 
genius), he has, nevertheless, painted pictures of an excellent 
quality that will undoubtedly preserve his name in the history 
of painting, where he will hold a place similar to that of Cazin 
in France. 



[289] 



OLD HOUSES IN COLOGNE 



GUSTAV SCHOXLEBER 



[290 



GUSTAV SCHONLEBER 



Old Houses in Cologne 

Painted 1878 

Height : 16 inches Signed "G. Schonleber 1878' 

Width : lO 1 /^ inches Oil on pasteboard 



[292] 



COLMAR 



GUSTAV SCHONLEBER 



[295] 



GUSTAV SCHONLEBER 



Col mar 

Painted 1881 



Height: IT inches Signed "G. Schonleber 1881' 

Width : 19VL' inches Oil on pasteboard 



[206 J 






HANS MAKART 

[1840-1884] 

While the historical painters of Munich painted affairs of state 
in dark tones, there arose a pupil of Piloty, Hans Makart, an 
enthusiastic prophet of color. A proud proclaimer of the most 
radiant colorism, he audaciously returned to the style of Titian 
and Paolo Veronese. His pictures with their luxuriant women, 
their festive throngs, splendor of costume, fluttering flags, rich 
vegetation and shining marble, had a striking effect upon the 
public as well as upon the connoisseurs. His imagination, his 
astonishing decorative talent, his sense for grandiose harmonies 
of color, are qualities which will assure to this artist a place in 
the history of art in spite of the fact that many of his large 
canvases, in consequence of a careless technique, have lost their 
original lustre. They are hardly more than reflections of the 
works which at one time were the delight of Europe and brought 
honors to their creator such as were bestowed upon the artists 
of the Renaissance. Besides these large compositions, Makart 
also painted pictures of smaller dimensions and with a more 
enduring technique ; a few are perfectly well preserved and will 
be a lasting memorial to this apostle of colorism. The picture 
in this collection might have been painted quite recently ; it is of 
a luminous splendor and gives a good idea of Makart's tempera- 
mental art. 



[299] 



BATHERS SURPRISED 



HANS MAKART 



n 301:1 



HANS MAKART 



Bathers Surprised 

Painted 1879 



Height : 45 inches Width : 94 inches 

Oil on canvas 



Recorded in the "Cyclopaedia of Paintings" (Scribners, New York, 
publishers). 



[302] 



AUGUST VON PETTENKOFEN 

[1829-1881] 

The light elegance of the Austrian, the thorough schooling of 
the German, and the taste of the Frenchman are combined in 
the precious paintings of this artist. When, as an officer, he was 
engaged in military manoeuvres in Hungary, he responded to 
the influence of light, air and color under the glowing sun of the 
Puszta and unconsciously became an impressionist who depicted 
in many small canvases the country of which he had grown so 
fond. The painting in this collection, Sunrise, is an example of 
his style at that time. Afterward he chose Venice as the scene 
of his richly colored work ; at a still later period he preferred 
Paris as an enthusiastic admirer of Meissonier. His pictures 
became more careful in detail without losing the charming har- 
mony of color, the soft radiance of tone. The Carriage with 
Donkeys of tins collection dates from this later period of the 
artist, whose paintings do not betray the discontented tempera- 
ment that he retained throughout his life. 



[305] 



SUNRISE 



AUGUST VON PETTENKOFEX 



[SOT] 



AUGUST VON PETTENKOFEN 



Sunrise 

Painted 1859 



Height: 121/4 inches Signed "A. P.' 

Width: 17% inches Oil on panel 



Recorded in the "Cyclopaedia of Paintings" (Scrihners, New York, 
publishers). 



£308 J 



CARRIAGE WITH DONKEYS IN A HUNGARIAN 
PUMPKIN-FIELD 



AUGUST VOX PETTEXKOFEN 



[311] 



AUGUST VOX PETTENKOFEN 



Carriage with Donkeys in a Hungarian 
Pumpkin-field 

Painted 1878 



Height: W\ indies Signed "Pettenkofen 1878' 

Width: 121 i i nc hes Oil on panel 



[312] 



MICHAEL VON MUNKACSY 

[1846-1900] 

Sedelmeyer, the veteran Paris art dealer and biographer of 
Munkacsy, goes so far as to maintain that his hero is the great- 
est painter of the XIX century. Although one might hesitate 
to agree with this statement, it must be admitted that purely as 
a technician Munkacsy readied a culminating point in the art 
of modern painting. His works have the quality of the old mas- 
ters, his purely technical ability is equal to that of Courbet and 
Leibl. But his art did not emanate, like the art of these two mas- 
ters, from the soul of the artist who struggles to attain his ideals : 
it had its origin rather in the easy mastery of the technical side 
of painting. He came from Hungary and studied in Diisseldorf . 
It was perhaps unfortunate for him that his first big work, The 
Last Day of a Convicted Man, which treated a stirring episode 
in a popular manner, achieved an immense success in the Paris 
Salon. Munkacsy became suddenly famous, he moved to Paris 
and with the sole intention of pleasing the public, he painted 
one large canvas after another. Later he interpreted religious 
themes, such as Christ before Pilate and The Crucifixion, owned 
by John Wanamaker in Philadelphia. In spite of great techni- 
cal merits they leave the spectator indifferent because of their 
theatrical composition, apparently arranged for sheer external 
effect. Munkacsy finally descended to the level of the senti- 
mental salon-picture. 

Julius Meier-Graefe, the eminent German art critic, speaks of 
a different aspect of Munkacsy. In his book on the "Develop- 
ment of Modern Art" he writes : "Munkacsy might have become 
a great painter, and indeed he was a great painter in certain 
unconscious moments of his youth. There are enchanting pic- 
tures, called sketches, painted by him during the later 'sixties 
and earlier 'seventies before he acquired fame as a historical 
painter. These paintings were done with a few colors, often en- 
tirely in dark tones, and show that at that time a passionate love 
for his art, pure and irresistible, impelled his brush. ... In the 



first draught of The Last Day of a Convicted Man, where the 
captive is alone with the soldier, the gloomy power of the color 
produces a demoniacal atmosphere. The candlestick with the 
lighted candles as portra}'ed by this strong 'Goya of the Puszta' 
has the luminous effect of a Rembrandt. The title is mislead- 
ing, and this error is perhaps the cause of an incorrect estima- 
tion of the picture. The Candlestick would be a more appro- 
priate title." Munkaesy painted this study twice. The first 
version belongs to this collection ; the second one is hanging in 
the Budapest Museum. The Hungarian Peasant and the 
Gypsies in the Forest in this collection date from a still earlier 
period. In these paintings the artist indulges — without regard 
to public or success — in the beauty of a style which combines 
Courbet's vigor with Diaz's delicacy. If one bears in mind that 
Munkacsy painted these pictures before he had even heard of 
these French masters, among the dry professors of Diisseldorf, 
one appreciates the loss which art has suffered through his weak- 
ness in yielding to the demand of public taste. Pictures like 
these will preserve Munkacsy's fame for posterity when the 
works which at one time aroused the enthusiasm of his contem- 
poraries will be of interest solely as documents of a masterly 
technique. 



[316] 



HUNGARIAN PEASANT 



MICHAEL VON MUNKACSY 



csit: 



MICHAEL VON MUNKACSY 



Hu ngarian Peasant 

Painted 1869 



Height: 15^4 inches Signed "M. Munkaesj" 

Width : IS 1 /! inches Oil on panel 



[sis: 



GYPSIES IN THE FOREST 



MICHAEL VON MUNKACSY 



nasi] 



MICHAEL VOX MUNKACSY 



Gypsies in the Forest 

Painted 1868 



Height : 22 : ;4 inches Signed "Munkacsy M. 

Width : 3914 inches Oil on panel 



[322:1 



THE PRISONER 

BY 

MICHAEL VON MUNKACSY 



[325] 



MICHAEL VON MUNKACSY 



The Prisoner 

Painted 1869 



Height: 291/2 inches Signed "Munkacsy M. 

Width : 381/4 inches Oil on panel 



Recorded in "Development of Modern Art/' by Meier-Graefe, Vol. 
II, page 321 (R. Pieper & Co., Munich, publishers, 1915). 



[326] 









ppp^l /, 










I 



FERDINAND HODLER 

[Born 1853] 

The fresco paintings in the armory of the Ziirich Landes- 
museum, the wall paintings in the University of Jena and in 
the City Hall in Hannover show that Hodler possesses a highly 
individual art of decoration based upon a structural composi- 
tion and an austere style. The principle of parallelism is 
manifested in his Day, where five nude girls awaking from sleep 
stretch their arms toward the light; and in the Eurhythmy, 
where five men, seated on a bench in contemplation, symbolize 
disillusion. This principle completely dominates Hodler's later 
works. From parallelism he developed his monumental style and 
became an expressionist. 

Before entirely adopting this expressionistic decorative style, 
Hodler, who interpreted nature in a highly individual manner, 
was one of the best and most original of modern painters. A 
flood of light emanates from the earliest pictures of this artist. 
Lake Thun in this collection belongs to this period; it was 
painted in 1878, one year before the other landscape, Lake 
Geneva. The rapidity of Hodler's development is shown by a 
comparison of these two pictures ; the second one recalls Cezanne, 
whose name Hodler had not even heard at that time. 

The Wandering Jew, painted in 1886, marks the height of 
Hodler's art before his decorative period. A mighty monu- 
mental style is displayed in this work. Dr. Johannes Widmer, 
the celebrated Swiss art critic, calls this picture "a standard 
work of the master who suffered, endured want, struggled and 
fought for the sake of his art." The discussion in regard to 
Hodler's expressionism still continues, but the works of his 
earlier period are of established importance. 



[329: 



LAKE THUN 



FERDINAND HODLER 



[SSI] 



FERDINAND HODLER 



Lake Thun 

Painted 1878 



Height: 15 inches Signed "F. Hodler' 

Width: 21 1 /-) inches Oil on canvas 



L 3S % 1 



LAKE GENEVA 

BY 

FERDINAND HODLER 



1335 ] 



FERDINAND HODLER 



Lake Geneva 

Painted 1879 



Height: 1714 Inches Signed "F. H." and 

Width : 25% inches "F. Hodler" 

Oil on canvas 



[336] 



THE WANDERING JEW 



FERDINAND HODLER 



1339-2 



FERDINAND HODLER 



The Wandering- Jew 

Painted 1886 



Height: 41 1 /o inches Signed "F. Hodler' 

Width: 34!/s inches Oil on canvas 



Recorded and reproduced in "The Gunzburgef Collection," by Dr. 

Johannes Widmer (M. Helbing, Munich, publisher). 
Reproduced in colors in "Jugend," 1914, No. 21 (Georg Hirth, 

Munich, publisher). 



[340] 



H 205 85 
















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